Elma Mono Bold Slanted

72px

Elma Mono

Bold Slanted

А это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мнойА это я в трусах и в майке под одеялом с головой бегу по солнечной лужайке, и мой сурок со мной

48px

Elma Mono

Bold Slanted

The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.The Latin alphabet was used in the earliest Asturian texts. Although the Academia de la Llingua Asturiana published orthographic rules in 1981, different spelling rules are used in Terra de Miranda.

24px

Elma Mono

Bold Slanted

Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.Acabáronse las vísperas, y la fiesta de Santa Ana, y quedó Preciosa algo cansada; pero tan celebrada de hermosa, de aguda y de discreta, y de bailadora, que a corrillos se hablaba della en toda la Corte. De allí a quince días volvió a Madrid con otras tres muchachas, con sonajas y con un baile nuevo, todas apercebidas de romances y de cantarcillos alegres, pero todos honestos. Pusiéronse a bailar a la sombra en la calle de Toledo, y de los que las venían siguiendo se hizo luego un gran corro; y en tanto que bailaban.

15px

Elma Mono

Bold Slanted

Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.Prince John held his high festival in the Castle of Ashby. This was not the same building of which the stately ruins still interest the traveller, and which was erected at a later period by the Lord Hastings, High Chamberlain of England, one of the first victims of the tyranny of Richard the Third, and yet better known as one of Shakspeare’s characters than by his historical fame. The castle and town of Ashby, at this time, belonged to Roger de Quincy.

About

Elma is a system of two fixed-width typeface families — Elma Mono and Elma Trio. While the Mono family takes the classical monospace approach with one fixed width, the Trio works with three fixed widths to make a mockery of ‘legitimate’ proportional designs.

Elma’s construction is based on a compact Neo Grotesque accented with generous spacing and a broken-curves design. Both families feel equally at home on packaging, in long reads, small captions, big headlines, elaborate bank statements or as the new default font of your favourite text editor. With its wide range of weights, from Extralight to Extrabold, and not just one but two — an Italic and a Slanted — Elma can set the mood, whatever it may be.

With more than 820 glyphs per style, native-approved Cyrillic and a broad Latin character set, Elma speaks more than 270 languages. On top of all that, Elma is packed with a handful of useful alternates, a neat selection of advantageous arrows, more sets of figures than a sane mind should come up with, case-sensitive punctuation and practical contextual alternates to make it an instrumental tool for all typographic needs.

Specimen (PDF, 1 MB)

Features

Case sensitive forms, standard ligatures, contextual ligatures, proportional lining figures, proportional oldstyle figures, tabular lining figures, tabular oldstyle figures, fractions, denominator, numerator, subscript / inferiors, superscript / superiors, slashed zero, ten stylistic sets

Languages

Afrikaans, Azeri (cyr), Azeri (lat), Belarusian, Bulgarian, Catalan, Chechen, Czech, Danish, Dutch, English, Esperanto, Estonian, Finnish, French, Gaelic (Irish), Galician, German, Hungarian, Icelandic, Ingush, Italian, Kazakh, Kurdish (lat), Kyrghiz, Latvian, Lithuanian, Moldavian (cyr), Mongolian (cyr), Mongolian (lat), Norwegian, Polish, Portuguese, Romanian, Russian, Serbian, Slovene, Spanish, Swedish, Tadzhik, Tatar, Turkish, Turkmen, Ukrainian, Uzbek (lat)

Authors

Philipp Neumeyer

Philipp Neumeyer was born and raised in the high mountains of Northern Germany. He graduated from the Muthesius Kunsthochschule (Academy of Fine Arts and Design) in Kiel before completing the postgraduate Type and Media course at the Koninklijke Academie van Beeldende Kunsten in The Hague. After some back and forth between Berlin and Copenhagen and working for LucasFonts and Playtype, Philipp settled in Berlin where he creates custom and retail typefaces as an independent type designer. Author of Theodor, Arnold, Rainer, and Norbert.

TypeMates

TypeMates: a straightforward font foundry.

For years, we — Jakob, Lisa and Nils — have been passionate about type and in 2015 we started working together, from our offices in Munich and Hamburg, as a type foundry.

We don’t believe that typefaces are neutral or purely functional systems for reading, rather that they are a visual language with emotional values. Our aim is to be straightforward in the complex field of type design. We do not want to hype or praise type too much, we want to work together with our clients and partners to deliver good results.

Our practice covers everything, from the tiniest nuance in a logo or piece of lettering to the design of extensive type systems. And whether it’s a beautiful idea, a complex client project with intense technical demands, or we’re just following our investigative TypeMate’s nose — we’re passionate about well-made letterforms delivered to the highest technical standard.

Whether it’s Die Zeit online, Fast Company, Red Bull TV or Lufthansa Magazine, typefaces we designed are used by magazines, newspapers and corporations who set the bar for design.

Codepage

Font in use